PS 3515 
.fl575 
17 

1917 
Copy 1 




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i ACTING PLAYS ,1 



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sosc 



eles 



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WALTER H BAKER 8 CO 
\ BOSTON- 



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Price, 50 Cctite 6acb 



THF AMA7nN^ Farce in Three Acts. Seven males, five fe- 
lOEi AlTl/M.vli»? rnales. Costumes, modern; scenery, not 
difflcHlt. Plays a full evening, 

TUr rAUINlTT MINIQTI71? Farce in Four Acts. Ten 
ItlEi LADlilE.1 lTliriidl£.ti males, nine females. Gos 
tmnes, modern society; scenery, three interiors. Plays a full evening. 

flANDY nir*!? JFarce In Three Acts. Seven males, four fe- 
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UIQ |J/\|TQf7 I'M Apni7R Comedy in Four Acts. Nine males, 
fllO ni/UOEi 111 VrnLniin. four females. Costumes, modern; 
seenery, three interiors. Plays a full evening. 

TUr UnnnV UnPCr comedy in Three Acts. Ten males, 
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scenery easy. Plays two hours and a half. 

ipiC Drama in Five Acts. Seven males, seven females. Costumes, 
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I FTTY Drama in Four Acts and an Epilogue. Ten males, five 
**"» » * females. Costumes, modem; scenery complicated. 
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Isosceles 

A Play in One Act 



By 
WALTER BEN HARE 

Author of ''The Hoodoo" "The Boy Scouts" "Teddy, or 
The Runaways" "A College Tow7t" "A Rustic Romeo" 
"A Southern Cinderella" "Aaron Boggs, Freshman " " The 
Fascinators," "Savageland" "Laughing Water" " Mac- 
beth a la Mode" "Mrs. Tuhbs of Shantytown" "The 
Adventures of Auntie" "Aboard the Good Ship Jane" 
"My Little Chaufeur," "A Couple of Million," etc. 

NOTE 

The acting rights of this play are strictly reserved. Performance 
may be given by amateurs on payment to the author of a royalty 
of two dollars and a half (;?2.50). Correspondence on this 
subject should be addressed to Walter H. Baker & Co., 
5 Hamilton Place, Boston, Mass. The professional stage rights 
are also strictly reserved, and performance by professional actors, 
given in advertised places of amusement and for profit, is for- 
bidden. Persons who may wish to produce this play publicly 
and professionally should apply to the author in care of the pub- 
lishers. 



BOSTON 

WALTER H. BAKER & CO. 

1917 



./)575i7 

\^7 



Isosceles 



CHARACTERS 

Jim Lyons 
Paul Vekdier. 
Reba Lyons. 




Copyright, 1917, by Walter Ben Hare 
Professional stage and moving picture rights reserved, 

©CIO 46340 
MAR -7 1917 




PLEASE NOTICE 

The professional stage-rights in this play are strictly reserved 
by the author, to whom applications for its use should be ad- 
dressed in care of the publishers. Amateurs may obtain per- 
mission to produce it privately on payment to him of a fee of 
two dollars and a half (i?2.5o) for each performance, in ad- 
vance. Correspondence on this subject may be addressed to the 
publishers. 



Attention is called to the penalties provided by the Copyright 
Law of the United States of America in force July i, 1909, for 
any infringement of his rights, as follows : 

Sec. 28. That any person who wilfully and for profit shall infringe any 
Copyright secured by this Act, or who shall knowingly and wilfully aid 
or abet such infringement, shall be deemed guilty of a misdemeanor, and 
upon conviction thereof shall be punished by imprisonment for not ex- 
ceeding one year or by a fine of not less than one hundred dollars, or both, 
at the discretion of the court. 

Sec. 29. That any person who, with fraudulent intent, shall insert or 
impress any notice of Copyright required by this Act, or words of the 
same purport, in or upon any uncopyrighted article, or with fraudulent in- 
tent shall remove or alter the copyright notice upon any article duly copy- 
righted shall be guilty of a misdemeanor, punishable by a fine of not less 
than one hundred dollars and not more than one thousand dollars. 



Isosceles 



SCENE. — An elaborate Innng-room of an apartment house in 
a large city in the middle west. Tlie decorations and hang- 
ings are in shades of gold and brozvn. Library table stands 
down u. ; elaborate reclining chairs R. C. and down i.. To 
the left of this latter chair and tiear the L. i e. there is a 
nook, closed on three sides and open in front, used as a tele- 
phone booth. Near the chair down L. is a taborette on 
which lies a fancy box containing t/ie remains of five pounds 
of chocolates, and a vanity bag. Center door entrance with 
hall visible beyond. Entrance R. 2 with practical door to 
slam. Bay-windo7v in fiat at L. Library furniture and 
palms ad libitum. Time, mid-afternoon. Lights on full 
throughout the play. 

(At rise, Reba Lyons is discovered lolling in easy chair 
do7vn L. She is a large, beautiful woinan ivith dull gold 
hair and, altho^cgh she is not stout, ten years hence, when 
she will be forty, there is every evidence that she will be a 
seeker after the specialists. She is dressed in t/ie skirt of 
an old gold coat-suit. The coat has been removed, however, 
and she is taking every comfort in a lace upper-garment 
with elboiv sleeves and cut slightly loiv in the neck. She 
opens the vanity bag and lazily takes out a sinall hand 
mirror. She regards her image thoughtfully and, evi- 
dently pleased with the effect, smiles pleasantly. She 
replaces the mirror in the bag, and carefully selecting a 
huge chocolate from the box leans back and nibbles daintily. 
Electric bell ritigs. Steps are heard and then a?i outer 
door [iiot visible') is opened and closed. Reba does not 
change her position. Slight pause and then the voice of 
Paul Verdier is heard at back r.) 

Verd. Thank you, Crane. (Ife enters c. D. He is a 
handsome young chap of about tzventy-six, slim and dark, 

5 



6 ISOSCELES 

rather carelessly dressed with a flowing black crepe Windsor 
tie. He carries a cluster of violets. Reba, still lolling down 
L., smilts and holds out her hand. Vekd. grasps it eagerly.) 
Reba! Alone? (^Kisses her hand.) Where's your husband ? 

Reba. I haven't seen him to day. He's out with the Van 
Sickle crowd again. He knows llie very thought of that boat 
gives me the nial de mer. That's the reason he's so fond of it. 

Veud. How beautiful you are to day. You are my sun, 
Reba, my warm golden sun shining througli the fog of the 
world's indifference. All afternoon I've been walking in the 
cold mist waiting for this moment, longing for the warmth of 
your smil^, the gleam of your wonderful hair. 

(^He attempts to take her in his arms.) 

Reba. I wish you wouldn't, Paul. I'm so unhappy to-day. 

Verd. Unhappy? You should never be unhappy. Your 
whole life, every moment, should be one uninterrupted joy. 

Reba {sighing contentedly). You are so sympathetic. You 
understand my temperament. 

Vekd. See, 1 have brought you a little bunch of violets. I 
found them underneath a bench in the park. They had .been 
neglected by the gardener, forgotten. They typified you. 
Alone, neglected, abused by 

Reba. No, he doesn't abuse me. (Petulantly.) But he 
thinks he has a perfect right lo do as lie pleases witli my money. 
I won't stand that. He bouglu twenty sliares of Tarantula last 
week directly against poppy's advice. Jim never had a busi- 
ness head. And poppy — well, Israel Cohan doesn't often make 
mistakes. Jim thinks he knows it all. I've put a stop to it, 
though. After this I'll make my own investments, 

i^Eats a chocolate rather viciously.) 

Veud. Can't you see, Reba, that a man like Jim Lyons 
could never understand you, never appreciate your finer nature 
or help you realize your beautiful ideals? 

Rf.ba. I know it. Popi>y always says that as far as money 
is concerned I'm the man of the family. 

Vepjd. And then your dreams, your purple dieams waiting 
to be quickened into thought. Can he appreciate your dreams? 

RilBA. He can't appreciale my temperament. He doesn't 
like music or poetry or sculpture. His only ambition is to be 
funny, to write a few foolish songs and fifiy pages of trash and 



ISOSCELES 7 

call it musical comedy. (^Moiirufitlly.) Then he reads it to 
me. {Sniffs.') Oh, Paul, even you don't realize all I suffer, 

Vekd. I know, 1 know. Some day when the white violets 
are blooming, and our own south wind calling gently, magnolia- 
throated, I'm going to drive you away in your car and we'll 
mix with tlie sweet air and white wind in the Land of Love's 
Deliglit. it's a wonderful country, Reba, of life — the bright 
warm life of eternal youth and love. (Reba selects a very large 
chocolale and begins to nibble as he encircles her ivith his arm.') 
And we'll, live there together, just you and I, with never a 
thought of the world outside. You'll go with me, dear heart ? 
Say that you'll go. 

{His face is very close to hers and she does not resist as he, 
with passionate eagerness, attempts to press his lips on 
hers. Suddenly she chews. Her mouth is filled with 
chocolate. He draws away and, disengaging himself 
gently, takes the box of chocolates from her and crossing 
to the other side of the stage, puts it on the table. She 
watches him languidly .) 

Reba. It is not right for you to talk to a married woman 
like that. 

Vekd. {at c). You have no right to be married without your 
soul-mate's love. 

Reba. How do you know that Jim doesn't love me? 

Vekd. By his every attitude, his neglect. Where is he 
now? Out on tiie lake with his men friends, maybe with 
ladies. 

Reba. No, Jim doesn't care for other women. 

Vekd. Well, he neglects you. He should be here to de- 
vote every second of his time to you, to idolize you by day, 
dream of you by night. 

Reba {sighing). You understand me so well. 

{Misses the chocolates and looks for them.) 

Verd. This can't go on any longer. My devotion to you 
has never changed. I came here at your husband's invitation 
determined to steel my heart against its love for you. I saw 
yon yesterday for the first time in five years. You were the 
golden incarnation of all my youthful dreams. You cared for 
me once, Reba. You still care for me. You are mine. Mine 
now and for all eternity. 



8 ISOSCELES 

(^He starts to embrace her. She rises.') 

Reba. Don't, Paul, don't. You take advantage of my 
temperament. But it's all true. My husband does neglect 
me. Me ! To whom he owes all his success. I paid his bills 
when I married him, I produced his first play, yes — and lost 
money on it, too. Eight thousand dollars. He's not even 
grateful for what I have done. Just because 1 don't laugh at 
his stupid jokes, he neglects nie. And I don't move in any 
better society now than I did before. He doesn't run with his 
own set, but has taken up lately with a lot of men — actors and 
writers and musicians who never care for society. (^IVith tti- 
creasing intensity.') He neglects me. He's a strange man 
whom 1 don't know. I'm just a source of money supply. I'm 
a doll, a plaything ! I'm like Mrs. Fiske in the Doll's House. 
Jim doesn't appreciate me. {Crosses to table R. and takes tip 
box of chocolates dramatically.) He's gone too far — it's all 
gone too far. Do you see that door, Paul Verdier ? {Points 
to practical door.) That's just like Mrs. Fiske's door in the 
play. {Opens door.) I'm going to open it like that some day 
and go through, just like she did. And slam it. {Slams it.) 
ril leave him. {Sinks in chair u. c. and eats chocolate.) 

Verd. {crossing to her eagerly). And come with me. 
We'll go to the Land of the Sleeping Waters and float upon 
the sea's breast of blue and turquoise. In the old days I wor- 
shipped you 

Reba. You left me. You didn't show this appreciation of 
my temperament then. 

Verd. I was poor. How poor even you never suspected. 
Do you remember the garden with the lily pond at Magnolia 
Hall where you used to play with your dolls ? I would come 
to the iron fence and watch you, a golden princess, in a gar- 
den of enchantment. Then the night we met 

Reba. The Charity Ball. I cut six dances for you. 

Vekd. The old boat-house, the silver crescent moon kiss- 
ing the lake, the south wind kissing the jessamine 

Reba. And you kissing me 

Verd. I learned to love the world that night. You gave 
me your heart with your kisses. 

Reba. It was my temperament. 

Verd. It was your self. Your golden responsive self. 
Then the moon drifted from the lake and the wind drifted 
from the jessamine 



ISOSCELES g 

Reba. And you drifted from me. 

Vekd. The next day 1 was sane. What had I, Paul 
Verdier, penniless, son of old drunken Joe Verdier, to do with 
Reba Cohan the richest girl of the Carolinas? People said 
that you were engaged to Jim. Everything seemed hopeless. 
I was a coward and left you. But now that 1 see you again, 
Reba, 1 want you. Love must conquer all. Give me a 
chance. Say you'll go with me. 

(A'/jT on the aim of lie r cliair.) 

Reba {iifter a slight pause throws her arms around his 
necfi). Paul ! (She kisses him.) 

Enter Jim Lyons, c. d., hurriedly. 

Jim {standing fixed at c. at t/ie scene; then speaks in a 
threatening voice). Reba ! 
Reba. Jim ! My God ! 

{iMechanically eats a chocolate.) 

Jim {strained voice). Go to your room. Get out. I 
want to speak to this — cur — alone. 

Reba. 1 won't do it. You forget yourself, Jim Lyons. 
How dare you speak to me like that? Whose apartments are 
these? Jf you have anylliing lo say, say it here and now. 

{She has risen and confronts him r. c. Verd. crosses 
down R.) 

Jim. Anything to say? Do you think I am going to be 
silent? Do you think that I am going to stand liere and let 
this snake that i have warmetl at my hearth-fire make love to my 
wife ? (Verd. makes movement toward him; Reba intercepts 
him.) I introduced you into my house as a friend and return 
and find my wife in your arms. What have you to say for 
youiself? {Very loud.) 

Verd. {confronting him angrily. Reba sinks in chair and 
hides face in hands, but peeks through fi/igers). I — I'll tell 
you 

Jim. Don't spenk. Don't try to explain an\thing. I want 
no explanations. We'll not quarrel an<l fight like a couple of 
street arabs. I'll not throw you down the stairs. But there 



10 ISOSCELES 

must be a decision made at once. (Verd. shrugs shoulders 
and crosses to l. i e.) Reba, do you love this man? 

Reba {raising head). 1 

Jim (^quickly interrupting). You do. I see it in your eyes. 
You, tlie only woman in the world I ever loved. (^Brokenly.') 
Reba, Reba, you've broken my heart. 

Reba {sniffing). Don't, Jim, don't. 

Jim. Go with him. If 1 can't have your heart, your love 
and your life, for God's sake go and leave me alone. I know 
what it is to be alone. But after you have gone — after you 
have deserted me, I'll go to the dogs as fast as I can. Some- 
times I'll dream of the woman who once was mine, of the home 
I have lost 

Reba {sobbing). I can't bear it, Jim, I can't bear it. I'll 
not leave you. I'll not go. 

{Rises and clings to him.) 

Jim {quickly). Yes, you will. Do you think that I want 
you when you love another man ? Out of my sight. I've 
done with you forever. 

{Sinks in chair and buries his face in arms.) 

Verd. Do you hear him, Reba? He casts you off. 

Jim. I found you in his arms. You, the woman I loved 
and trusted, on whose honor 1 would have staked my life. Go ! 

Reba. You — want — me — to — go ? 

Verd. Come ! 

Reba. I will go. I'll leave you, Jim Lyons. I'll go. No 
man can talk about my honor. \^Exif, r., banging door. 

Verd. {after a pause). I suppose you will consent to a 
divorce ? 

Jim. Don't talk to me. It's all I can do to keep calm. 
You've won and I've lost. Take her and go. 

Veud. {crossing to hall and getting hat, the?i coming sud- 
denly down c). Jim Lyons, why did you ever ask me to come 
here? 

Jim [looking up quickly ; slight pause). That's what I ask 
myself, why ? 

Verd. You knew that I loved your wife — that I under- 
stood her temperament. You neglected her 

Jim {7vith a sneer). Why didn't you try to win her five 
years ago ? 



ISOSCELES 1 1 

Verd. Five years ago I was poor and she was rich 

Jim {ilrily). She is still rich. 

Veud. Vou mean? {Slight pause, and then suddenly.') 
I'll not do it. 

Jim {quickly). Not do what? 

Verd. I've wronged you, Lyons. She's your wife in the 
sight of God and man. I'll sacrifice myself for her. I'll leave 
her for you. You can win her love again. Good-bye. 

{Starts up.) 

Jim {in a rage). What! {Rushes at Verd., drags him 
do7vn c, much against his will. Verd. struggles.) You 
shan't go away. 

Verd. Don't you understand ? I am sacrificing my very 
heart and soul, my life, my love. Good-bye ! {Struggles.) 

Jim {unable to hold him longer, stands before the door and 
cries). Reba ! 

(Reba enters from 'R., fully dressed ivith coat and large yel- 
loiv hat.) 

Reba. Why did you call me? Do you want to insult me 
again? Or do you want to borrow some more of my money? 

Verd. {protestin^ly). Reba ! 

Reba {paying no attention). You'll never have another 
chance. {Takes cafidy box and crossing to practical door, 
opens it.) I'm tired of living with a man who doesn't know 
me — whom I don't know. I'll no longer live in a Doll's 
House. {Dramatically.) I'm going to close the door like 
Mrs. Fiske. 

Verd. But Reba 

Reba {seizing him). I'll go with you — to live in your Land 
of Love's Delight. The highway of Love is beckoning me I 
Come ! 

{She sweeps Verd. out of practical door and slams it dra- 
matically.) 

Jim {seated R. c, staring in front of hifn with tense fixed 
look. Pause. The outer door slams. A great change passes 
over his face. Heaves a sis^h of relief, then smiles broadly, 
then laughs, then in uncontrolled laughter lies back in chair 
ivifh his sides shaking). The Land of Love's Delight. Poor 
Verdier ! And he's a poet, too. {Laughs.) A poet and 



12 ISOSCELES 

Reba ! {^Enters telephone booth.') Hello, Central. 6722 — 
Party X — Green. {Pause.) No. 6722. Yes, thank you. 
{Pause. Reba enters hurriedly, crosses to her room at u. and 
exits.) Hello, Jake. {Pause.) No, I want Mr. Jay Van 
Sickle. Is this 6722 — Party X — Green? Oh, wrong num- 
ber. Beg pardon. Hello, Central. Central ! For Heaven's 

sake! VVhat the Hello, Central. Yes, you made a 

mistake. 1 wanted 6722 — Party X — Green. {Reenter Ri-ba 
from R. with two enormous je^vel caskets. She hurriedly ex- 
amines je7vels at table and locks each box.) Hello, Jake — this 
is Jim. Everything's all right. The scheme worked to a fiire- 
thee-vvell ! Reba has left for good. (Reba hears, pauses, 
comes near booth and listens.) Can you put me up on the 
boat to-night? {Pause.) Great! The very thing. We can 
sail to-morrow. Ready? Why, I'm ready now. {Pause.) 
Sure, it's settled. No trouble at all. The slickest thing I ever 
did. {Pause.) Congratulations? Much obliged. I'm going 
to write a book, " How to Get Rid of a Wife." I'll be with 
you in an hour. You've got to promise though that we won't 
see a woman's face on the whole trip. {Pause.) Sure thing. 
Good-bye. 

( Comes from the booth and is confronted by Reba standing 
c, like a Goddess of Vengeance, her breast heaving.) 

Reba (//; a hollow voice). It — was — a — trick ! 

Jim {nonplussed). Why did you come back? 

Reba {holding up the jewel casket while the storm gathers). 
I'm glad I did come back. It has shown you in your true 
despicable nature, Jim Lyons. 1 hate you. Paul is th<rre 
waiting — the man that I love — the man who loves me; but do 
you think I am going with him? No, Jim Lyons, I am going 
to stay right here. I'll show you how to get rid of a wife. 
I'm here and not all the world can take you from me. {Crosses 
quickly to booth. Rings. Jim 7vafches apprehensively.) Hello, 
Central. Please give me 6722 — P^rtv X — Green. {Exit']\^\, 
u., very quietly.) Hello, is this Mr. Van Sickle? This is Mrs. 
Jim Lyons. Ye;s, Reba Lyons. Reba Cohan Lyons. {Pause.) 
Oh, yes, I'm at iiome. I just wanted to apologize to you for 
Jim's atrocious joke. I'm afraid he carried it too far. He's 
standing riglit here by me. He says that he wanted to see 
how gullible you were. {Reenter ]iMfrofn u., 7Z'ith coat, hat 
and grip. He tiptoes across stage and exits c.) No, you 
know what it means to have a professional humorist for a bosom 



ISOSCELES 13 

friend. I wish you a pleasant voyage, Mr. Van Sickle. And 
so does Jim. Good-bye. i^Comes from booth?) Now, you 
see. (^Looks around in avtazement. She exits u. quickly. 
Pause. Door R. slams as she is supposed to go from room to 
room. A faint cry of "Jim ! " is heard and then she reenters 
at R.) The coward, the coward, ( Goes to window and calls.) 
Paul ! The taxi ! It's gone ! (^Rushes out c. D. Pause. 
She reenters c. D.) He's gone ! 

{Gives sigh. Takes off hat and coat and tosses thefn r. 
Crosses to l. with box of chocolates and seats herself at 
L., as she appeared at beginning of play. She selects a 
very large chocolate and nibbles contentedly as the curtain 
falls.) 



CURTAIN 



THE HOODOO 

A Farce in Three Acts 
By Walter Ben Hare 
Six males, twelve females and four childieii. Costumes, modern; 
scenery, one interior and one exterior, or can be played in a single in- 
terior. Plays two hours and twenty minutes. For a wedding gift Pro- 
fessor Spiggot gives Brighton a marvelous Egyptian scarab. Under its 
evil influence Brighton is blackmailed by a former flame ; the susceptible 
Billy finds himself engaged to three ladies ; the Professor is accused of 
bigamy ; and Dun, the clever burglar, is caught. Matters are straight- 
ened out when the scarab is buried. Hemachus, the Professor's son, and 
Paradise, the colored cook, afford exceptional character parts. Recom 
mended for schools. Price, 2j cents 

CHARACTERS 

Brighton Early, about to be married. 

Billy Jackson, the heart breaker. 

Professor Solomon Spiggot, a« authority on Egypt. 

Hemachus Spiggot, his son, aged seventeen. 

Mr. Malachi Meek, a lively old gentleman of sixty-nine, 

Mr. Dun, the burglar. 

Miss Amy Lee, about to be married. 

Mrs. Perkington-Shine, her aunt and Mr. Meek! s daughter. 

Gwendolyn Perrington-Shine, who does just as mamma says. 

Dodo De Graft, the Dazzling Daisy. 

Mrs. Ima Clinger, a fascinating young widow. 

Angelina, her angel child, aged eight. 

Miss Doris Ruffles, Amy's maid of honor. 

Mrs. Semiramis Spiggot, the mother of seven. 

Eupepsia Spiggot, her daughter, aged sixteen. 

Miss Longnecker, a public school-teacher. 

Lulu, by name and nature. 

Aunt Paradise, the colored cook lady. 

Four Little Spiggots. 

SYNOPSIS 

Act L The lawn at Mrs. Perrington-Shine's country home. 

Act IL The library at 8: oo P. M. A thief in the house. 

Act in. The same library at ii : oo p. m. Trouble for the burglar, 

THE CLINGING VINE 

A Comedy in One Act 

By Rachel Baker Gale 

Sixteen females. Costumes, modern ; scene, an interior. Plays forty 

minutes. Irish and Negro comedy parts. The Bartonville Woman's 

Club brings Mrs. Redding to trial on the charge that she is neglecting the 

club to attend to household matters. As the trial proceeds other members 

confess to the same crime and the meeting breaks up with all agreeing to 

pay a little more attention to their homes. Recommended for women's 

clubs. Author's royalty of $ 5.00 asked for each performance. 

Price, 2K cents 



THE TIME OF HIS LIFE 

A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
females. Costumes, modern ; scenery, two inleriors, or can be played in 
one. Plays two hours and a half. A side-splitting piece, full of action 
and a sure success if competently acted. Tom Carter's little joke of im- 
personating the colored butler has unexpected consequences that give him 
" the time of his life." Very highly recommended for high school per- 
formance. Price, 2j cents 

THE COLLEGE CHAP 

A Comedy Drama in Three Acts by Harry L. Newton and John 
Pierre Roche. Eleven males, seven females. Costumes, modern ; scenery, 
two interiors. Plays two and a half hours. An admirable play for ama- 
teurs. Absolutely American in spirit and up to date; full of sympathetic 
interest but plenty of comedy ; lots of healthy sentiment, but notliing 
" mushy." Just the thing for high schools; sane, effective, and not dif' 
ficult. Price, 2^ cents 

THE DEACON'S SECOND WIFE 

A Comedy in Three Acts by Allan Abbott. Six males, six females, 
Costumes, modern ; scenery, one interior, one exterior. Plays two hours 
and a half. A play of rural life specially written for school performance. 
All the parts are good and of nearly equal opportunity, and the piece is full 
of laughs. Easy to produce ; no awkward sentimental scenes ; can b* 
strongly recommended for high schools. Price, 2^ cents 

THE TEASER 

A Rural Comedy in Three Acts by Charles S. Allen. Four male, three 
female characters. Scene, an easy interior, the same for all three acts ; 
costumes, modern. Plays an hour and a half. An admirable play for 
amateurs, very easy to get up, and very effective. Uraliah Higgins, a 
country postman, and Drusilla Todd are capital comedy parts, introducing 
songs or specialties, if desired. Plenty of incidental fun. 
Price, 2^ cents 

COUNTRY FOLKS 

A Comedy Drama in Three Acts by Anthony E. Wills. Six males, five 
females. Costumes, modern; scenery, one interior. Plays two and a 
quarter hours. An effective and up-to-date play well suited for amateur 
performance. All the parts good and fairly even in point of opportunity ; 
the ladies' parts especially so. Easy to stage, and well suited for schools. 
Well recommended. Price, 2j cetits 

THE MISHAPS OF MINERVA 

A Farce in Two Acts by Bertha Currier Porter. Five males, eight fe- 
males. Costumes, modern ; scene, an interior. Plays one and a half 
hours. An exceptionally bright and amusing little play of high class and 
recommended to all classes of amateur players. Full of action an^ 
laughs, but refined. Irish low comedy part. Strongly endorsed. 
Price, 2J cents 



Jl. m« Pitiero's Plays 

Price, 50 Cents Cacb 



Miri fHANNFI Play in Four Acts. Six males, five females. 
ITUiZ-^llAlTi^LiLi Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ^.tr'^.^Xl 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PRflFIWlATF Playln Four Acts. Seven males, five 
IIlLi I IW/I LilUA 1 Li females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THE SCHOOLMISTRESS f^^r^^^Z^tost^^tsTSot 

em; scenery, three Interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY l^grl^^-.^St'e 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

^WFFT T AVI^NnFR Comedyin Three Acts. Seven males, 
tJVVLiLiA Lii\y ItmULiIX four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF THITMnFDRflf T Comedy in Four Acts. Ten males, 
inu inuni/£iI\Ol/Lil nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven female*. 
I ni:> 1 llllLtO Scene, a single interior ; costumes, modern. Plays 
a full evening. 

THF WVkWn QFY Comedyin Three Acts. Eight males, 
int Wi:ii4I\£.I\ OCiA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^^etl^^,t^^TeJiZ. 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

l^alter ^. paiker & Companj> 

No. 5 Hamilton Place, Boston, Massachusetts 



LIBRARY OF CONGRESS 



015 907 648 9 

asa 



Cfje Willmm WRXXtn €Qition 



A^ Yftll I SEP IT Comedy in Five Acts. Thirteen males, four 
AO IvV tfi^Li II females. Costomes, picturesque ; tcenery, t»- 
rled. Plays a full eveniag. 

CAMfl T V I^rama in Five Acts. Nine males, five females. Oos- 
VAiUlLfLfii tnmes, modern ; scenery, varied. Plays a full evening. 

INfiOMAD ^^7 i° ^^^ Acts. Thirteen males, three females. 
mUvIuAA Scenery varied ; costumes, Greek. Playaafull evenltig. 

MADY ^TFADT Tragedy in Five Acts. Thirteen males, four f»- 
iuAIVl ^lUAul males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE aWeffrml?:!: c7^^!^, 

picturesque ; scenery varied. Plays a full evening. 

DirHFl FPU Play In Five Acts. Fifteen males, two females. Bcen- 
l\lvULiML<U ery elaborate ; costumes of the period. Playa a full 
evening. 

THR RIVAI ^ Comedy in Five Acts. Nine males, five females. 
lUi) BHIALitJ Boenery varied; oostames of the period. Plays a 
fall evening. 

SHE STOOPS TO CONQUEll SS'^fC ff ja^eneeB^5^ 
vied ; ooBtumes of the period. Plays a full evening. 

TWEFTB NIGHT; OR, WHAT YOU WILL S^r'^en^J?^: 

three females. CostiuDea, picturesque ; scenery, varied. Playa a 
(all evening. 



Sent prepaid on receipt of price by 

Salter i^, isal^er a Company 

No. 5 Hamilton Place, Boston, Massachusetts 

e. J, PARKHILL a CO., PRINTERS, BOSTON, U.S.A. 



